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|Posté le: Mar 8 Aoû - 09:28 (2017) Sujet du message: Now by now you may be wondering why all the songwriters lis
|"God Bless America", "White Christmas" (Berlin); pandora charm italia "Save the Last Dance for Me"," Lonely Avenue" (Pomus); "Tiny Dancer", "Candle in the Wind" (Taupin); "Streets of Baltimore", "I Fall to Pieces" (Howard); "Leader of the Pack", "River Deep, Mountain High" (Greenwich/Barry); "It's Only a Paper Moon", "Somewhere Over the Rainbow" (Harburg) - these are just a few examples of songs written by NON-performers. Those titles are amongst the most popular songs written in the past 100 years. Any of those - and hundreds more - have been successfully recorded by dozens, perhaps hundreds, of artists during that time. The songwriters received royalties based on the number of records sold and on the sales of sheet music and songbooks containing the fruits of their labors.
pandora anelli 2017 When the item sold is a physical item (LP's, CD's, cassettes) a pre-set mechanical royalty comes into play. The mechanical royalty is set by Congress and has been since 1909 when the rate was established at two cents. The current rate is set at 9.1 cents (a bit more if a song is over 5 minutes). Downloads are also subject to these rates. Sheet music is generally a % of the cost of the item.
pandora italia Radio royalties are generally collected as a percentage of advertising revenue and songwriters receive their share based on formulas designed to impart some level of fairness. In addition bonus money is available for songs that are played over X amount of times in a designated period (typically a quarter) or that have established themselves as all-time perennials or standards (think "You've Lost that Loving Feeling" for a contemporary example). Whether or not these formulas truly properly distributed the collected fees to the songwriters is another discussion, but simply put the percentage used in calculating the gross amount was set across the entirety of the radio medium.
pandora bracciali italia stations derive their revenue from advertising sales. Stations are free to set their rates based on what the market will bear; free to decide how many minutes of ads per hour will be run and decide the mix of 60 seconds, 30 seconds, 15 seconds or even shorter lengths ads to make up the content. While the average today is around 9 minutes, stronger economic times have seen as much as 20 minutes per hour.
pandora collane italia Now by now you may be wondering why all the songwriters listed at the start of this article were lucky they preceded Pandora and other streaming services? After all streaming services allow more music to be heard by more people for longer periods of time than ever before. One is no longer confined to hearing only what - and when - a radio station decides to play a specific song. Or any song for that matter. Isn't the opportunity for more people to hear a singer or a band more often a great way for these performers to make themselves known to a wider listening audience? Doesn't this promote their "brand", allowing them to increase ticket sales, merchandise sales, performance royalties from their labels? Well, yes it does. EXCEPT the artists listed above - and so, so many more unnamed and unknown - are NOT performers. Their revenue is the song itself.
This is not just about Pandora, pandora charm outlet italia of course. Spotify would benefit from any adjustment in royalty rates as well. The founder of Spotify has gone on record, in a recent Wall Street Journal article, as envisioning Spotify being able to customize your playlists based on your location(such as when your smart phone detects you are at your gym or in your home). He also spoke of other ways Spotify could deliver music to you - at a cost. Nowhere in the article are artists even mentioned. It's as if all this music came fully formed and it is the delivery system that is the true reason for music. At least Pandora's Wintergren pays lip service to the artists who make the music (if not the folks who initially create the music).
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